Angel Song in Conversation with Jamel Duane Alatise

Jamel Duane Alatise is an inter-disciplined artist, poet, photographer, and storyteller based in South London. Founder of People Journal, a purposely slow journal publication documenting and exploring insights into individuals creativity and personal voices. Jamel has been slowly building up a body of work in archived material – photographs, anonymous handwritten stories, illustrations and more, as well as producing events in art and live music. The artist has recently founded agency 11 Miracles, which is where we met for this interview at their Peckham based studio. His works can be seen in collaboration in the past with institutions such as Tate, the Photographer’s Gallery, V&A Museum and many more.

Jamel Duane Alatise. Photo Courtesy: Jamel Duane Alatise.

Angel Song: I want to start with your school experience, if you can tell me about the program as it sounds quite unique, and how has that helped you or shaped your career?

Jamel Duane Alatise: First and foremost, Guildhall School of Music and Drama stands as a prominent music and drama conservatoire nestled in the heart of the City of London, within the corporation of the City of London. It's essential for people to recognize this distinction. Skipping ahead, I want to delve into the BA Performance and Creative Enterprise course – “PACE”, which I found to be truly magical.

Long story short, while engaged in a project with the Prince's Trust focused on developing my leadership skills. As fate would have it, during that project based in the Barbican, Guildhall was unveiling its new course. I vividly recall being ushered from the Barbican offices into Guildhall's Milton Court, where the course leader, Carlos Lopez Real, was passionately introducing the program. The brochure featured a diverse array of performance disciplines, sparking my interest immediately. It all sounded too good to be true, so I asked, “What’s the catch?” to which he replied, “There is no catch, it’s so open because this is an underrepresented list of disciplines.” Therefore, despite my initial skepticism, I found myself drawn to the course's inclusive nature and decided to apply.

Situated between the music and drama departments, the course drew upon the expertise of professors from both realms, fostering a unique interdisciplinary environment. The circular curriculum encouraged us to revisit core concepts year after year, delving deeper with each iteration. This approach aimed to cultivate future leaders in various industries, challenging us to continually question and evolve our understanding of performance and enterprise.

Navigating the complexities of such a multifaceted program was not without its challenges. However, I found strength in the program's inherent flexibility and openness. Rather than seeking to rigidly define our path, the course empowered us to embrace ambiguity and adaptability, qualities that have served me well in my diverse career endeavors from working for museums, and theatres to members’ clubs.

In essence, the true value of the course lay not only in the networking opportunities it afforded but also in its relentless pursuit of intellectual inquiry. Whether grappling with the elusive nature of art or exploring the intersections of creativity and commerce, the course instilled in me a lifelong curiosity and a willingness to engage with complex questions.

Ongoing long-term The Story Project, Jamel Duane Alatise. Photo Courtesy: Jamel Duane Alatise.

AS: Do you feel that your experience in the course has influenced your current practice by allowing for more flexibility and versatility? Considering your involvement in diverse projects and your fluid approach to your identity as a working artist, do you see a direct correlation between your education and your ability to navigate various creative endeavors?

JDA: Yes, is the short answer I initially felt a bit hesitant about this because, in all honesty, I had this multidisciplinary mindset even before undertaking the degree. Prior to Guildhall, I was deeply immersed in various ventures. For instance, I co-managed a production company with a friend while simultaneously running a creative agency focused on servicing fashion brands. Our work spanned from high fashion to streetwear, exploring contemporary concepts and striving to get editorials published in magazines. Meanwhile, I was also deeply involved in filmmaking, handling tasks ranging from scriptwriting to casting and production. Alongside these professional endeavors, I maintained a presence on stage as a performer.

What Guildhall and the PACE program allowed me to do was transition from being multidisciplinary to interdisciplinary, recognizing the interconnectedness among seemingly disparate fields. This shift has been invaluable, as it has enabled me to leverage diverse skill sets to my advantage. Additionally, the program emphasized the importance of articulating one's abilities effectively, whether as a musician, producer, poet, or any other role.

Over time and with practice, I've honed my ability to see how my various pursuits complement each other. For example, I've come to understand how my poetry enhances my photography, and vice versa. It's a continuous process of refinement, but I've found that each aspect of my creative practice informs and enriches the others in unexpected ways.

Asa Haynes, Polaroid by Jamel (the Sundown Kiki Reloaded Cast). Photo Courtesy: Jamel Duane Alatise.

AS: There is a very interesting relationship between the written word and photography, As some say a picture speaks a thousand words for example, how has the relationship between the written word and photography influenced your work, both positively and in times of challenge?

JDA: I've recently made a documentary project; I think a lot of that started with words. The process involved understanding the client's vision, the essence of the project, and their relationships with actors and other organizations. As I delved into this explorative phase, I began collecting insights and ideas, translating them into concrete proposals and references. Drawing from my extensive portfolio of still images, I found that my ability to articulate concepts was greatly enhanced by my background in photography.

Even when projects don't explicitly combine words and photos, such as poetry in response to an image, I've noticed a symbiotic relationship between my expressive and documentary practices. This synergy becomes particularly evident in long-term projects, where I can leverage past work to inform present decisions. For instance, incorporating still images into a documentary becomes seamless when I've previously captured similar subjects.

Ultimately, the interplay between these practices varies from project to project. Sometimes, it's overt, like utilizing existing images to enrich a film. Other times, it's more subtle, such as leveraging my communication skills honed through poetry to navigate entrepreneurial endeavors. Regardless, this dynamic interaction continually reinforces the value of my diverse skill set and experiences.

Ongoing long-term The Story Project, Jamel Duane Alatise. Photo Courtesy: Jamel Duane Alatise.

AS: You mentioned the importance of human connections within your works, whether through poetry, photography, or any other endeavor. Do you believe that people are the primary motivation behind your work, and if so, how do you see this connection influencing your various artistic expressions?

JDA:  The point of me being an artist is to generate empathy in the world, and I happen to do that through storytelling, a craft I've honed through my interactions with others. Whether through photography or poetry, my work revolves around human experiences and relationships.

When someone views one of my photographs, often featuring another human being, my aim is for them to connect emotionally. Many have remarked on my ability to capture the essence of my subjects, allowing viewers to sense their energy and presence. In feeling connected to these individuals, I hope that viewers become open to their stories, perspectives, and emotions, thereby facilitating societal progress.

Similarly, my poetry is often inspired by human interactions and experiences. Through words, I aim to distill complex concepts into concise expressions that resonate with others. Ultimately, my goal is to create a sense of connection and understanding, fostering empathy and solidarity in a world that often feels fragmented.

AS: I'm intrigued by the significance of personal touches in your practice, as you lean on personal archives in creating a sense of collective memory. I'm curious about your thoughts on this, as I find it to be an often overlooked aspect of the art world. What are your insights on the role of personal archives and collective memory in art?

JDA: I kind of lit up when you mentioned collective memory, as I embarked on this journey of gathering stories from people throughout the years, I found myself pondering the idea of archiving 1% of humanity. he gravity of such a task hit me at different points in the process, prompting questions about the patterns and insights we could uncover about ourselves and each other. I think that notion of collective memory is something that excites me as a curator, a researcher, most importantly as a human being. I am intrigued by the notion of witnessing glimpses into people's hearts and minds through this analog form of archiving. It transcends political declarations and instead offers a profound social observation that has the capacity to change us.

Reflecting on my experiences with storytelling, I've been humbled by the depth and creativity of those I've collaborated with. Each story carries its own significance, and while none may single-handedly change the world, collectively they contribute to a productive sense of memory and recollection. In an increasingly digital world, the handwritten, physical nature of these archives holds a unique texture and meaning that invites further exploration and discussion.

Cotton Tyriq Juicy Couture, Polaroid by Jamel (the Sundown Kiki Reloaded Cast). Photo Courtesy: Jamel Duane Alatise.

AS: How do you prioritize the physicality of the artistic process in your work, particularly through shooting on analog film and curating a personal archive? Additionally, how do you perceive the impact of informal settings or less conventionally composed photographs, like those for your Polaroid photography, on the authenticity of the captured moments?

JDA: I've devoted considerable thought to the materials I use in my storytelling endeavors. For instance, the stories I create are crafted on recycled cotton cloth, a choice I made with intentionality. This material serves not only as a vessel for ideas and illustrations but also communicates values of recycling, waste reduction, and material reuse. It's been a journey of iteration, starting from conventional paper to sticky notes and scrap paper before arriving at the current medium. The texture of the cloth lends a temporal quality to the stories, evoking a sense of antiquity and depth.

Similarly, in my photographic work, I eschew the conventions of studio settings in favor of intimate, fleeting moments captured on Polaroids. I seek to embody the Japanese concept of "wabi-sabi," finding beauty in imperfection and impermanence. These authentic, unfiltered moments often overlooked in Western standards hold immense value to me. They encourage authenticity and presence, requiring me to be fully engaged with the moment, devoid of distractions. This approach fosters mindfulness and invites viewers to engage more deeply with the work and the stories it conveys.

Scan from Project with the V&A. Photo Courtesy: Jamel Duane Alatise.

AS: As you mentioned Japanese philosophy, how has that and perhaps Japanese or Eastern culture influenced your practice?

JDA: First of all, even before I approach any creative or conceptual aspects, I think it's important for me to recognize the role that Japanese photography has on my practice from a technical standpoint - even down to the granular, often subconscious, choices I make when it comes to what cameras I use. But from there, Japanese influence also extends to my creative approach, whether through material choices like cotton cloth - something I use for storytelling - or through my creative philosophy. I feel it’s right to acknowledge how the aesthetics and ethos of artists like Kenya Hara have profoundly impacted my practice. Hara, who heads the Hara Design Institute and is renowned for his work with Japan Houses worldwide, embodies a poetic approach to design that resonates with me deeply.

Furthermore, I've explored the cultural significance of manga and anime, especially in shaping the values and resilience of young black men in London. These art forms promote perseverance, courage, and friendship, offering narratives that inspire self-belief and self-actualization. Unlike mainstream Western media, which often lacks these positive messages, manga and anime have played a crucial role in shaping my worldview and artistic expression. me. There is an importance of consciously choosing the values we align ourselves with, regardless of geographical origins. It's not about an East versus West debate but rather about the essence of the values we embrace as individuals.

Furthermore, the concept of worldbuilding is fascinating to me. Whether it's through the pages of a manga or the branding of a company like Aesop or Billionaire Boys Club, the power of constructing immersive worlds cannot be underestimated, both creatively and commercially. As a practitioner, I'm drawn to the idea of iteration and exploration, constantly asking myself how a project can evolve or how different mediums can convey a particular atmosphere or vibe. It's about creating something that captivates and holds the audience's attention in a world where attention is a precious commodity.

Many thanks to Jamel Duane Alatise on behalf of MADE IN BED.

To learn more about Jamel and his work, follow him on Instagram. To learn more about People Journal, and the documentary by the Young Vic,  click the download link above.

Angel Song

Interviews Co-Editor, MADE IN BED